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atelier Chic

programme transformation d'une serre tropical en atelier de couture et impression sur tissu

lieu confidentiel

client privé

architecte Heros Architecture

surface 390 m2

budget confidentiel

mission conception

date 2020

particularité bâtiment inscrit au titre des monuments historiques

crédits © Jeudi.wang



“They are shapeless and can receive the shape of what is contained by them, in the same way a liquid adopts the shape of its container. We are interested in grid/nets that are synthetic, simultaneous and synchronic with the architectonic item and vice-versa: architecture and environment, when inseparable from idea of net or are the net itself, materialise in such a way that tensions and relationships are drawn by the net, constructing and breaking links.”
Fernando Porras


“A grid is a location map of densities. When the locations are orthogonal to each other, and the densities involved are identical, like a system of points, then we have a Cartesian grid – the template of traditional building design. But in space-time, where mass densities induce gravitation, which, in turn, is a function of location, “grid” becomes mathematical set of probabilities. Written in tensor notation, the arrangement of such a grid becomes the array of a matrix placed in vertical and horizontal arrays. (The entities of a matrix are interdependent and no one point has preference or autonomy. The matrix is a picture of a grid as a simultaneous event.)”
Cecil Balmond



« Today’s architect builds relationships. There are, in fact, invisible lines running between things. Material relationships, magnetic fields, sound waves, light beams, lines of particles, infrared radiation, structural lines, movements of particles, ultraviolet rays, energy interchanges, waves of heat and cold, currents of air, gas and water. There is, then, a matrix of relationships, a matrix of real relationships and another matrix of virtual relationships. A matrix in mathematics, programming, software, telephony, networks, genetics, fractals and chaos. A matrix that is structural and visible, that is solid and electronic, that is solid and electronic, that is kinetic and frozen, that is nano and cosmic. What’s the bandwidth of matrix? A telephone-line architecture, ISDN, Internet 2, asphalt highways, planetary orbits, lasers, vector drawings, pen lines, copper circuits, nylon threads. The matrix must be constructed because it is real and we live within it.”

Enric Ruiz-Geli



“An attempt to summarize the qualities of the new grounds it is interesting to point out their fundamentally active, operative nature; these emerging grounds are closer to the contemporary meaning of « platforms” as operating systems than to the classical concept of platform –plinth, base- which aims to frame, neutralize and erase the field of operation to produce an ideal background for architecture to become a readable figure.”

Alejandro Zaera-Polo



“Once a surface for symbolic expression – defining the way spaces are used, the “rules of the game” – floors in the twentieth century tended towards a purely Cartesian surface, rational, undecorated, unloved, always perfectly flat, ideally soundless. Simultaneously with our negligence of their programmatic, symbolic, and haptic potential, floorspace became the dominant economic metaphor for architectural space: call it square meterism. But the square meter, in the parlance of real estate, is really a three-dimensional volume through the entire space. And floor itself is actually a thick slab, sometimes a “false floor” containing mysteries similar to those of the ceiling.”

Rem Koolhaas



“When your house contains such a complex of piping, flues, ducts, wires, lights, inlets, outlets, ovens, sinks, refuse disposers, hi-fi reverberators, antennae, conduits, freezers, heaters – when it contains so many services that the hardware could stand up by itself without any assistance from the house, why have a house to hold it up?”

Reyner Banham



« Je ne reconnais aucune différence entre les machines que font les artisans et les divers corps que la nature seule compose, sinon que les effets des machines ne dépendent que de l’agencement de certains tuyaux, ou ressorts, ou autres instruments, qui, devant avoir quelque proportion avec les mains de ceux qui les font, sont toujours si grands que leurs figures et mouvements se peuvent voir, au lieu que les tuyaux ou ressorts qui causent les effets des corps naturels sont ordinairement trop petits pour être aperçus de nos sens. Et il est certain que toutes les règles des mécaniques appartiennent à la physique, en sorte que toutes les choses qui sont artificielles, sont avec cela naturelles. Car, par exemple, lorsqu’une montre marque les heures par le moyen de roues dont elle est faite, cela ne lui est pas moins naturel qu’il est à un arbre de produire des fruits. »